This essay was originally commissioned by Hordaland Kunstsenter (Hordaland Art Centre) in Bergen, Norway, to coincide with HC Gilje's solo exhibition blink. Thank you to Mitchell Whitelaw, HC Gilje and Hordaland Kunstsenter for allowing us to republish it to Rhizome News.
HC Gilje's work arises from a moment when the anything-at-all of digital video was just opening up, thanks to a combination of new real-time tools, cheap computing power, and some key interdisciplinary influences. Drawing on experimental sound and music, improvisation and performance became important solutions; working live in a specific situation, artists would gather, process, generate, and recombine material. In work from the late 1990s and early 2000s, from Gilje and his collaborators in 242.pilots, as well as video ensembles such as Granular Synthesis and Skot, the result is abstract and intense, a flow of layered digital texture. In performance it saturates the body and senses; big screens, big speakers. Instead of the narrative transport of cinema, which takes us somewhere else, this work creates - and is created in - an intensified sense of presence, what Gilje calls an "extended now". This methodology is vital; it focuses the open-ended generality of digital media in to a point: on this, rather than anything-at-all.
Chain of Hyper Space scenes from films (a collaboration with Mike Merrill).
Part of the thing which is so appealing about Hyper Space scenes in films is the idea that something fantastic and unknown lies at the end of them. In fact, here are the primary uses of Warp Speed/ Hyper Space as plot device:
A) Tunnel to unknown.
B) Escape from danger via total oblivion.
Both represent a kind of inversion, or temporary lifting, of the accepted order.
Big thanks to Travess Smalley for his help with the clip.
Circular File Channel is the TV Network as TV Show. The project combines content produced by Circular File (principal members - Josh Kline, Anicka Yi, Jon Santos, Thomas Torres Cordova, Tatiana Hamilton) with contributions from invited artists (including Uri Aran, Alisa Baremboym, Luke Calzonetti, Anne Eastman, Greg Edwards, Debo Eilers, Shana Moulton, Takeshi Murata, Patrick Price, Fatima Al Qadiri, Ken Okiishi, Georgia Sagri, Trevor Shimizu, Brina Thurston, Allyson Vieira, Xeno & Oaklander, and others). The content was edited together into three 28 minute long episodes broadcast in November 2009 on Manhattan Cable Access, and streamed on Vimeo, YouTube, and PerformaTV. Content was produced around the following themes: computer-aided new century modernist art and architecture, the creative industries, The Bush Economic Bubble (ie 2005, 2006, 2007), human capital/exploitation, posthumanism, comedy, tragedy, and tragicomedy.
Everything In Heaven Is TV is a Totally Wreck Production Institute Production in association with Channel Austin Public Access. Season One was released and aired during the fall season of 2008. Produced by Amanda Joy, Juan Cisneros, Eli Welbourne, Ben Aqua and Chad Allen, with the ongoing help and support of many like minded artists, salesmen, psychics, cats, psychic cats, and the love of many many confused viewers.
Miami art fair season is in full force. Projects falling into the art and technology category are somewhat slim this year, but here are a few things to check out:
Art Basel Miami Beach premiers the Oceanfront this year, a new space on the beach that will serve as the platform for Art Video, Art Film, Art Perform, and Art Basel Conversation. West Coast artist Pae White was commissioned by Creative Time and ABMB to design the space. She produced an ambitious interactive cityscape of large color blocks made from scaffolding and printed fabric. Comfy seating and spaces for eating add to the communal atmosphere of the installation.
On Saturday, December 5th from 7 - 8:30pm, curator Meredith Johnson presents video works by Jill Magid and Kon Trubkovich that explore issues of surveillance and control. Magid’s show "Authority to Remove" is currently on view at the Tate Modern.
This year the SCOPE art fair commissioned a handful of curators to select a single work to screen at the SCOPE theater. Below are the four remaining screenings:
Friday, December 4 | 11am-7pm
Kate Macnamara (curator)
Edgar Arceneaux, An Arrangement without Tormentors, 2004
Saturday, December 5 | 11am-7pm
David Hunt (curator)
Robert Boyd, Conspiracy Theory, 2008
Sunday, December 6 | 11am-6pm
Benjamin Godsill (curator)
Kon Trubkovich, Double Entrance/Double Exit, 2009
A panel considers future models for exhibition-making, with artists Raphael Montanez Ortiz, Pedro Reyes, Peter Saville and Katerina Seda. Moderated by Hans Ulrich Obrist. Speakers available for informal discussion after the panel. 10-11 a.m.
Jenny Jaskey is Rhizome's Curatorial Fellow
Amerika describes himself as a "thoughtographer", an "artist-medium", a "fictional philosopher", a "remixologist", a "network conductor", a wanderer who constantly changes identities and roles in a fragmentary world where time acquires an a-synchronic and non real dimension. By trying to express the complexity and the interest of contemporary digital reality, he delves into different aspects of himself and draws on elements and traits that he transfers to the characters of his works, by using the media, the technological platforms of our time. Developing projects on the net, filming with mobile phones, remixing common moments and figures of today's culture in a VJ-like audiovisual rhythm, Amerika redefines the characteristics of today's culture and opens up the possibilities for new interpretations and thoughts from the audience itself. -- "UNREALTIME" at the National Museum of Contemporary Art in Athens